2011 09-06 ALEXA Studio - Data Sheet.indd

2011 09-06 ALEXA Studio - Data Sheet.indd
CAMERA
Data Sheet | September 2011
As the top-of-the-line camera in the ALEXA family, the
ALEXA Studio combines all the features that have made
the ALEXA and ALEXA Plus so popular with three new
unique features: an optical viewfinder, a rotating mirror
shutter and a 4:3 Super 35 sensor.
Since the ALEXA Studio shares the same genes as
the other three ALEXA cameras, it offers the same
exceptional image performance, unsurpassed exposure
latitude, high sensitivity, natural skin tones and organic,
film-like image quality. Also like its siblings, it provides a
plethora of efficient workflow solutions, from the shoot
and edit ProRes 422 Rec 709 option and the shoot,
color correct and edit ProRes 4444 Log C option all the
way to ARRIRAW, the highest quality uncompressed,
unencrypted image pipeline. Careful design and
manufacturing techniques as well as extensive testing
ensures the greatest reliability on set, and a continued
dialog with working professionals has resulted in a user
interface that is powerful yet very easy to use.
Main Features
Top of the Line ALEXA Camera
Exceptional image quality
■
Efficient and versatile workflows
■
ARRI product quality
■
Simple and safe operation
■
Fully loaded: includes anamorphic
de-squeeze and high speed licenses
■
Optical Viewfinder
Zero delay, artifact-free, natural motion portrayal
■
Bright and sharp full color image
■
Accurate color fidelity and white balance
■
Best way to judge focus
■
The ALEXA Studio is the ideal camera for all who want
the most comfortable, accurate and efficient operating
experience through an optical viewfinder. By their
very nature, optical viewfinders have zero delay and
show a bright and sharp full color image through the
taking lens. Additionally, they are artifact-free, show a
natural motion portrayal, provide accurate color fidelity
and proper white balance, i.e. that of the scene! Thus
operators see exactly what is happening right when
it is happening, have an easier time judging focus
and experience less eye fatigue. Cinematographers
appreciate the ability to judge lighting through the
viewfinder and to work with the camera even when it
is powered off. Choosing lenses, deciding on staging,
setting up shots, pre-lighting or rehearsing before the
camera is powered up and connected to video village
can save precious time on the set.
Easy on the eye
■
Works without power
■
Compatible with 8x and 10x 435 and 8x ARRICAM eyepieces,
extensions and heated eyecups
■
Spherical or anamorphic viewing,
optic blocks for 2x or 1.3x anamorphic de-squeeze available
■
Can be replaced with ALEXA Electronic Viewfinder
■
Rotating Mirror Shutter
No rolling shutter artifacts
■
4:3 Super 35 Active Sensor Area
Ideal for anamorphic shoots
■
Room for vertical repositioning of spherical images
■
Ident.-No.: K5.40971.0 · Technical data subject to change without further notice. © ARRI/2011
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich · phone +49 (0)89 3809 0 · fax +49 (0)89 3809 1245 · www.arri.com
CAMERA
Data Sheet | September 2011
To make all this possible, the ALEXA Studio viewfinder has been redesigned from the
ground up: the new optical design shines with top image quality and compatibility
with 8x and 10x ARRIFLEX 435 and 8x ARRICAM eyepieces, extensions and heated
eyecups, while the new mechanical design combines the robustness and flexibility
of ARRI’s film camera viewfinders with the ability to switch between spherical
and anamorphic viewing. The viewfinder can be modified for either a 2x or 1.3x
anamorphic de-squeeze ratio. For maximum flexibility in operating, the optical
viewfinder can be replaced with the ALEXA EVF-1 electronic viewfinder if need be.
The rotating mirror shutter makes the optical viewfinder possible, but also changes
how the sensor is exposed, thereby completely eliminating the rolling shutter artifact
that has already been greatly minimized in the other ALEXA cameras.
As the only production camera (aside from the ARRIFLEX D-21) with a 4:3 Super 35
sensor, the ALEXA Studio is predestined for shooting anamorphic feature films or
commercials. Utilizing the full Super 35 area squeezes every bit of resolution from
the sensor for a high quality anamorphic image. But more importantly, anamorphic
lenses create a unique look that has been appreciated by directors and cinematographers for over half
a century, and cannot be created in post. Some classic examples of films shot with anamorphic lenses
include Apocalypse Now, Blade Runner, Chinatown, the Indiana Jones films, Alien and The Last Samurai. But even when
shooting spherically for 1.78:1 or 1.85:1, the extra image area leaves ample room for vertical repositioning.
The ALEXA Studio comes fully loaded with a built-in radio for camera and lens remote control through
ARRI or cmotion lens control systems, connectors for lens motors, the ARRI Lens Data System for the first
fully integrated lens metadata workflow and always includes the anamorphic de-squeeze for electronic
viewfinder and 120 fps licenses.
Its optical viewfinder, 4:3 sensor and other high-end features position ALEXA Studio as the premium
camera for spherical and anamorphic feature films and commercials.
ALEXA Studio 16:9 and 4:3 Mode
ALEXA Studio can be operated in both 16:9
or 4:3 mode. The 16:9 mode is shared with
ALEXA, ALEXA Plus and ALEXA M. The
4:3 mode, only available on ALEXA Studio,
retains the same 2880 pixel width of the 16:9
mode, but uses more pixels above and below
the 16:9 mode pixel area, all the way to the
edge of the sensor.
This has two advantages: for 2.39:1 flat,
1.85:1 and 2.39:1 shot with 1.3x anamorphic
lenses, more area is available above and
below the image for vertical repositioning
in case an overeager microphone has to be
hidden, for instance, or headroom has to be
matched with footage from another camera.
But by far the greatest improvement can be
seen for 2.39 :1 shot with 2x anamorphic
lenses (the red square), where a significantly
larger sensor area is used.
16:9 Mode (ALEXA, ALEXA Plus, ALEXA M and ALEXA Studio)
Sensor Size 3392 x 2200 Pixels (1.54:1)
ARRIRAW 2880 x 1620 Pixels (1.78:1)
Active Pixel Area for 2K DI Master 2880 x 1620 (1.78:1)
Surround View 3168 x 1782 Pixels (1.78:1)
Frameline 2.39:1 Flat 2880 x 1205
Frameline 2.39:1 Scope 2x 1926 x 1620
Frameline 1.85:1 2880 x 1558
Frameline 2.39:1 Scope 1.3x 2880 x 1567
4:3 Mode (ALEXA Studio only)
Sensor Size 3392 x 2200 Pixels (1.54:1)
ARRIRAW 2880 x 2160 Pixels (1.33:1)
Active Pixel Area for 2K DI Master 2880 x 2160 (1.33:1)
Surround View 3168 x 2200 Pixels (1.44:1)
Frameline 2.39:1 Flat 2880 x 2105
Frameline 2.39:1 Scope 2x 2581 x 2160
Frameline 1.85:1 2880 x 1558
Frameline 2.39:1 Scope 1.3x 2880 x 1567
Ident.-No.: K5.40971.0 · Technical data subject to change without further notice. © ARRI/2011
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich · phone +49 (0)89 3809 0 · fax +49 (0)89 3809 1245 · www.arri.com
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising